Monday, May 30, 2016

COMING SOON from SONORIS... steve roden / in be tween noise 6 CD box set (1998 - 2003) 6 CD box set

very excited to announce that this june, the french label, sonoris, will release a 6 CD box set of rare and unreleased recordings from 1988 - 2003.

track list:

CD1 :
1. and go the great man (1990, the secret of happiness, first cassette)
2. trees (circa 1987, cassette, unreleased)
3. counting the ways and listening (1993, unreleased)
CD2 :
1. tube / fan / voice (1995, unreleased)
2. ash loop red island swarm (1994, unused track from the recordings for ‘humming endlessly in the hush’, unreleased)
3. cloud forms (1994, unused track from the recordings for ‘humming endlessly in the hush’, unreleased)
4. tree: sleep in heavenly peace (CDR, edition: 30, 1999)
5. of space enclosed (exhibition catalog: ‘translations and articulations’, 1997)
CD3 :
1. that i couldn’t breath (unreleased, 2002)
2. bird sleeping, bird walking (unreleased, 2001)
3. hanging garden [version] (unreleased, 2000)
4. view [bard version] (unreleased, 2002)
CD4 :
1. mint and ferns (unreleased, 2000)
2. chamber music (unreleased, 2003)
CD5 :
13 compilation tracks 1995-2003
CD6 :
9 compilation tracks 1999-2003

Monday, April 18, 2016

help my uncle realize his life's dream...

my uncle jeffrey has started a kickstarter... he has been a musician all of his life. he recently was contacted by the solaire label in berlin, who are interested in producing a series of CD's of my uncle's works. i'm helping my uncle to help fund his trip to berlin for the recordings, as the musicians are top notch! it is very important that this music is performed and heard... the kickstarter link is here 

Monday, April 11, 2016

a year without painting (text)

the press release that i wrote for my recent show...
"A year ago I decided to stop painting, and when the year was over I began to begin to paint again. After a year away, I hoped the making of a painting would feel different.

When the year without painting was over I felt uncomfortable and awkward, with new materials, a new pace of making, and new techniques… suddenly there were no brushes - only gloved hands and dragged cardboard. There was tape - inviting bleed - and acrylic paint exclusively. In all of this my intention was to “scrape” away the tropes that I had gathered along the way.

I should tell you that these works are filled with baggage - marks and images buried, cryptic and nearly invisible, in the hope that certain things might be sensed rather than seen. I have always been interested in imbuing works with deeply personal biographic marks or images (or whatever you call those things that sit upon a painting’s surface).

I am working from a palette of images, memories and instances that have fallen into my lap… such as the night that Edinson Volquez was pitching in the world series while his father was dying many miles away… and in that idea of integration, I am reminded by a quote from Allan Kaprow that goes like this:

'You can steer clear of art by mixing up your happening by mixing it with life situations.'

The new paintings continue to explore not only a graphic motif from the cover of a Domus magazine from my birth month and year, but also ideas around ritual and architectural form - specifically related to the fireplace and ceiling of R.M. Schindler’s Richard Lechner House (where I spent time as a child).

Recently, I have also been obsessed with a photograph of two seemingly insignificant pieces of wood about the size of the inner part of a closed fist. The photograph appeared in an auction catalog, and I was fascinated to discover that these seemingly ordinary, or pathetic objects were pieces of George Washington’s coffin, and as such, their presence transcends their objectness.

In some ways, this body of work is a conversation between the inside and the outside of things (specifically when making paintings).

Continuing my babbling and following breadcrumbs, it seems OK to place George Washington’s detritus alongside a few crumpled drawings made by Antonin Artaud, created through black magic, and thrown on the roofs of several of his enemies.

And oh! I just remembered that the first painting I made when I got out of grad school was a painting called “mouthpiece” in homage to the great Eric Dolphy… and so I made the painting with the brush held in my mouth. I know that I am not really offering you an explanation of what I’m doing, but I’m trying to tell you that I’m only capable of dancing around things, rather than knowing what they are.

And p.s. I forgot to tell you that my conversation is not necessarily an art conversation, as much as a continual scratching at the door of a room filled with unknown potential…"
january, 2016

Tuesday, March 15, 2016

let's get this right for a change...

here is the wikipedia site for "lowercase music":

Originally coined by minimal artist Steve Rodenlowercase is an extreme form of ambient minimalism where very quiet, usually unheard, sounds are amplified to extreme levels. (It is a common misconception that lowercase music primarily consists of lengthy silences.) Roden popularized the movement with an album entitled Forms of Paper, in which he made recordings of himself handling paper in various ways. These recordings were commissioned by theHollywood branch of the Los Angeles Public Library.

Steve Roden stated this about the lowercase tendencies in which he began to develop in his later works: “ It bears a certain sense of quiet and humility; it doesn't demand attention, it must be discovered... It’s the opposite of capital letters—loud things which draw attention to themselves.” Many artists have contributed to the lowercase movement, including Kim CasconeTetsu InoueBhob RaineyRichard Chartier, and Bernhard Günter.

Some of the labels that publish lowercase music are Trente Oiseaux12k, and Raster-Noton, which features composer Ryuichi Sakamoto in collaboration with Carsten Nicolai, a.k.a. Alva Noto.

here is how it should be: 

Originally coined by minimal artist Steve Rodenlowercase is not an extreme form of ambient minimalism, but it tends to be very quiet, where sounds usually unheard are amplified to reveal minimal characteristics of sound that would otherwise to hear. a common misconception is that lowercase music primarily consists of lengthy silences - which can happen, but are not necessarily a characteristic of all lowercase music. Roden popularized the movement with an album entitled Forms of Paper, in which he made recordings with contact microphones while handling a book's pages in various ways. The resulting recordings were used in a sound installation, commissioned by the Hollywood branch of the Los Angeles Public Library.

Roden began to think about lowercase as a stance or manifesto as an alternative to the noise one hears in almost every facet of public life. Roden uses the ideas of lowercase not only in relation to music or sound, but to attempt to live and work with a sense of quiet and humility. The ideas surrounding Lowercase were inspired by this passage in Rainer Maria Rilke's Letters to a Young Poet. 

"if you will cling to nature, to the simple in nature, to the little things that hardly anyone sees, and that can so unexpectedly become big and beyond measuring; if you have this love of inconsiderable things and seek quite simply, as one who serves, to win the confidence of what seems poor: then everything will come easier, more coherent and somehow more conciliatory for you".

Lowercase does not demand attention, it has to be discovered... It’s the opposite of capital letters.” Many artists have contributed to the lowercase movement. Some of the labels that publish lowercase music are Trente Oiseaux, 12k, and Raster-Noton.

Wednesday, February 10, 2016

please help artist robert turman with health expenses

the great artist/musician robert turman is having heart valve surgery and his family has put together  a gofundme to help raise money... please look at the link

robert's music is fantastic. spread the word!!!!!

Saturday, January 09, 2016

free performance at young projects LA january 22 at 8 pm


Live performance for one night only 

The LA-based artist and composer, Steve Roden, who created the sound-scape for Orlovski’s “Skazka,” will be on hand for a live performance at Young Projects on JANUARY 22, 2016 

For this special occasion, Roden will perform a live improvised sound piece to Orlovski’s animation, using mainly a modular synthesizer. As in much of Roden’s work, his source material will include a selection of “found” audio materials, such as field recordings and the like, that respond to both, Orlovski’s visuals as well as his suggestions of memory, psychological projection, decay and regeneration.
This live performance will begin promptly at 8pm and last for approximately one hour

Monday, January 04, 2016

solo exhibition at susanne LA projects opening january 29, consisting of new paintings made after a year without making a painting...

i will have a solo show of new paintings opening january 29 at susanne vielmetter LA projects. these are the first paintings i've maid since i stopped painting for a year; and i hope you find them looking quite different. no oil, no brushes, and a lot of different materials and pace... more to come.  the show will also include a series of collaborative works on paper done with leslie ross-robertson (who mostly works with letterpress.)


Thursday, October 15, 2015

new cassette available NOW

Tuesday, October 13, 2015

if you happen to be in vancouver soon...

october 22 – 24, 2015
nomadic streams festival of ambient music
october 22 – 24, 2015; doors at 8pm, show at 9pm each night
vivo media arts (2625 kaslo street, vancouver)
nick storrings, steve roden, crys cole, dj olive,souns, loscil, marina rosenfeld, lawrence english, rafael anton irisarri, flux quartet.

Tuesday, September 15, 2015

new drawing at parallel vienna 2015


We cordially invite you to the opening of our exhibition on
Tuesday, September 22nd, 6 pm.
23. - 27.09.2015, 12 am - 7 pm
Alte Post, Dominikanerbastei, 1010 Vienna.
In September 2015 czirp czirp is participating in the art show PARALLEL VIENNA with a group presentation. The artists FÉLICIA ATKINSON (FR)JONÁŠ GRUSKA (SK),ANTONIA KUO (USA)MERJA KOKKONEN (FIN) and STEVE RODEN (USA) express themselves both through sound and visual art.
The selection of artworks and artists approaches is of heterogeneous character. The intention in this exhibition is to emphasize on the plurality of concepts dealing with sound aesthetics.
As the focus in past projects had mainly been on live music performance and sound installations with ephemeral character, czirp czirp now turned to choosing works from a representational angle addressing the possibilities of visual artistic expression developed through sound.
These visualizations of sonic perception are to be seen in relation to the predominantly visual or context based conceptions and attempts to understand art as well as current aesthetic approaches. What unfolds are questions directing to accessibility and distribution of art works, poetics and language as well as a Materialist understanding of sound embedded in the process of artist's work.
Looking forward to see you!

Monday, September 14, 2015

september 19 at mare island... simon scott, steve roden, mark van hoen, touch “live mix”

september 19, 2015

re:sound presents touch:
co-presented by 23five incorporated and touch

simon scott, 
steve roden, 
mark van hoen, 
touch “live mix”
doors open at 3pm • $10.00 • advanced tickets
magazine a-168 • railroad ave. & mercado ct. • mare island,vallejo

Monday, September 07, 2015

free download new record with glenn bach

water in the hollow eyes of the blue, finally

by Steve Roden & Glenn Bach

In 2012, Glenn Bach and Steve Roden were invited to create a live soundtrack to Bleu Remix, a performance-installation by Yann Marussich, where the artist reclines inside a glass box, and, over time, begins to sweat blue pigment from the pores in his skin, manifesting the act of movement by remaining perfectly still. 

Using source files provided by Marussich, Bach and Roden created a palette of sonic material for the evening's performance, transforming the original sounds beyond recognition. During the concert, Bach and Roden processed the sounds yet again, live, as the audience contemplated Marussich reclining, and sweating, in his glass vitrine. 

The resulting concert recordings inspired a subsequent studio session in Roden's garage, where the artists improvised an entirely new interpretation of the sound sources throughout the various stages of transformation. The resulting performance was recorded live with no overdubs. 

Friday, September 04, 2015

coming soon: a new cassette

Thursday, August 27, 2015

performance sunday evening FREE

Sunday August 30, 2015 @ 6:00PM

Los Angeles Contemporary Archive
2245 E Washington Blvd 
Los Angeles, CA 90021

performances by Yann Novak and Steve Roden

Wednesday, August 19, 2015

from an unknown radio station playlist...

Steve Roden - Forms of Paper
Dr. Dre - Compton

um... doesn't get any better than that... 

Wednesday, August 12, 2015

a nice long conversation with "infinite grain" with some sound clips, a video, etc.
click here

Thursday, July 30, 2015

upcoming group show at LACA - a new video piece

The Recorder Was Left On, Or The Closer I Get To The End The More I Rewrite The Beginning[1]
Doa Aly, Alejandro Cesarco, Yann Novak, and Steve Roden
Curated by Suzy Halajian
Los Angeles Contemporary Archive (LACA)
Opening August 7th, 7-9pm
August 7 - September 26, 2015
It is much simpler to come to a conclusion, or a pause perhaps, rather than to return to the beginning again and again. The same is true of returning to a source, which appears new upon each inspection. It shifts, it reacts, it digresses, it is read differently and is experienced in unfamiliar ways. Perspectives on layered meanings evolve. As the artists in this project return to and re-read material, an affected consideration of words, sounds, and objects emerges. The original meaning is oftentimes made unclear, muffled, obliterated, and many times distanced from the source material.

That said, we do not aim to abandon our sources. This project allows artists to thoroughly consider and reconsider the study that urges the question. What can extended meditation on material achieve? What possibilities arise out of the arduous process of compulsive artistic research? The cross-references, new symbols, and variant languages make room for alternative subjects and accounts to materialize, even if only through the fissures. And the likeliness that a retelling through erasure, obfuscation, or misreading can advance certain possibilities once unanticipated, or deemed too mundane, to reach the surface.

The Recorder Was Left On, Or The Closer I Get To The End The More I Rewrite The Beginning[1] takes up artists’ practices that share a meditation on archival and source material — including historic, literary, and personal. These contemplative processes demand a slowing down to reconsider various subjects, such as James Joyce’s novel, A Portrait of the Artist as a Young Man and Marquis de Sade’s novella Justine, and Domus magazines from the 1960s. References serve as entry points to other kinds of personal stories, some more legible than others, and to allow a multiplicity of meanings to unfold through a suspension of knowing. New contradictions and constructions help us understand the established narratives that surround us and illuminate states of idleness, loss of communication, disturbance and upheaval in a revolutionary state, as well as abstract, reinterpreted images found in archives. Given this process, the subjects no longer occupy the space of the source material, but inhabit those imagined spaces, contrasting history with the present and layering various narratives.

This project insists the viewer stay present with the work at hand, to enter an artistic space of self-directed meditation. LACA provides an entry point. Works are dispersed throughout the site, colliding with the physical archives and suspending the viewer within a non-conclusive space, including a workspace, artists’ books, documentation, and ephemera, collectively offering a site of production and dissemination. Most importantly, it invites the individual to enter a mode of reflection that understands that the work that initiates this process will only escape us, that it will later shift into another thing, and then another: “What we call texts escape us as the dream escapes us in waking, or the dream evades us in dreams…The text will end up by beginning.”[2]

Doa Aly's (Cairo) video work, Hysterical Choir of the Frightened (HCF) (2014), borrows from Marquis de Sade’s 1791 text Justine, and also takes up an Egyptian newspaper article on the most recent protests in Cairo during which opposition protesters’ efforts were immediately halted in Tahrir Square on January 25, 2014 — the third anniversary of the Egyptian revolution. What is being said and to what means remains unclear given the references are not made apparent, as Aly sets up a theatrical scene a choir of four women quietly stating passages from the text, shot in a slow, circular pace and advocating violence through a shared desire.
Alejandro Cesarco's (New York) three prints, A Portrait of the Artist Approaching Forty (I-III) (2013)[3], capture a subtle, slowing down of the artist through the close-ups of holes, scratches, and fillings that mark the surfaces of the artist’s studio and the artist’s body. Yet the traces visible on the prints remain indiscernible from one another. James Joyce’s A Portrait of the Artist as a Young Man offers Cesarco his departure point along with other works in this series. Cesarco’s video work, If in Time (2012), portrays two characters from his previous video, Methodology, now found sitting and reading texts aloud to one another as their only form of communication. An estranged scene is dramatized, yet the role of the text is never understood: she reads her own text and he reads a text he is writing about her work.

Yann Novak’s (Los Angeles) sound installation, Idleness, Endlessness (2015), deliberates multiples sites and moments in time, drawing from the environment Novak recorded while attending the Parkfield Artist Residency in 2012, and the material he later processed in his studio over a three-year period and also used in live performances. The final compositions were created through improvisation with the insertion of periods of inactivity to simply contemplate where the piece had come and where it should go. Altered photographs of the sky taken at his residency frame the single two-hour composition, and offer a personal, nostalgic encounter with a more leisurely moment — one that sets up a tension within the LACA workspace.

Steve Roden’s (Pasadena) video work, knockin on heaven’s door (2015), expands upon a series of works — photographs, collages, and paintings — that began in 2014, during a residency, exploring a group of Domus magazines from the 1960s that belonged to Roden’s father. The silent video presents a simple visual motif — an opening and closing of a door — revealing a series of images. While many images are found images, others are personal, such as a pair of paper chairs that were in his grandparents house, a small Italian radio, and Robert Rauschenberg. The collection can be seen as an archive of orphaned images, not necessarily derived from the artist’s past. The title alludes to Roden's father's death and his love of Bob Dylan.

Tuesday, July 28, 2015

get your tickets for resonant forms NOW!!!!!!!!!!!


VOLUME and LACE present the second Resonant Forms festival 

for three days from September 11 through 13, 2015.

This year’s festival will present unique performances

 by a range of artists in the emergent fields of 

experimental electronic music, sound, and performance art. 

The artists featured in this festival represent 

varied approaches to the interplay of artistic mediums, and take risks 

not frequently observed in traditional creative modalities.

Lineup subject to change, visit for the most current schedule.

September 11 – 13, 2015
6522 Hollywood Blvd
Los Angeles, CA 90028
Tickets $20 – $70
Click here to purchase tickets

Resonant Forms will take place
inside i have never been here before,
an immersive
installation by Los Angeles based
artist Rafa Esparza. The artist has transformed
 the architecture of the gallery into a
space absent of corners, unified by curve,
and made out 5,000 adobe bricks that he
has produced with the help of his father
and extended family members.

September 11
8:00PM - 11:00PM
Simon Scott
Bethan Parkes
Jen Boyd
Touch (live mix)

September 12
8:00PM - 11:00PM
Lawrence English
John Chantler
Paul Clipson
Steve Roden

September 13
8:00PM - 11:00PM
Rafa Esparza
Raquel Gutierrez w/ Adam Garcia
Nikki Darling

September 13
12:00PM - 4:00PM
The Radical Listener
Field recording, Workshop

September 11
Resonant Forms opens with an
evening of performances by
three artists associated with
acclaimed UK experimental
sound label, Touch. Organized by Touch
label head Mike Harding, this evening
features a rare performance
bySimon Scott, a multi-instrumentalist, sound 
ecologist and drummer (formerly ofSlowdive
from Cambridge, UK. 
Glasgow based sound artist 
Bethan Parkes explores the inherent 
dimensionality of sound through 
compositions and installations.
 Jen Boyd is a sound artist and 
curator based in Northern 
California who works with 
field recordings of the natural 
world, forgotten spaces, 
and the environment. The evening 
will also feature a DJ set by Mike Harding

September 12
In celebration of their 15th Anniversary, 
Australian music label Room40 will 
present performances by Lawrence English, 
John Chantler, Steve Roden, and film 
projections by Paul Clipson. 
Lawrence English, who founded the label, 
is a composer, media artist and curator 
based in Australia. He investigates the 
politics of perception to create works 
that ask audiences to become 
aware of that which exists at the 
edge of perception. UK based artist
 John Chantleruses technology to 
exploit the inner zones of audible 
electricity, exploring texture 
and dimension with a relentless 
ferocity. Paul Clipson is a 
filmmaker who often collaborates 
with sound artists and musicians 
on films, live performances, and 
installations. His Super 8 and 
16mm films aim to bring to light 
subconscious visual preoccupations 
that reveal themselves while 
working in a stream of consciousness 
manner, responding to and conversing 
with the temporal qualities of musical 
composition and live performance. Steve Roden
is a visual and sound artist from Los Angeles. Roden’s
 working process uses various forms of specific 
notation and translates them through self 
invented systems into scores, 
which then influence the 
process of painting, drawing, sculpture, 
and composition.

September 13
Resonant Forms will conclude 
with a series of performances 
organized in collaboration with 
LACE Assistant Director Shoghig Halajian. 
For the closing night of both the festival and 
Esparza’s i have never 
been here before, these artists 
will explore notions of race, 
identity and belonging in 
response to the installation. 
Rafa Esparza is a multidisciplinary 
artist whose work ranges in medium from 
installation, sculpture to 
drawing, painting, and most 
predominantly live performance. 
Woven into his many bodies 
of work are his interests in 
history, personal narratives, 
and kinship. Raquel Gutiérrez is 
a film actor, curator, publisher, 
playwright, arts administrator, 
and community organizer. 
She writes about art, culture, 
music, film, performance and 
community building and creates 
original solo and ensemble 
performance compositions.
 Nikki Darling is 
a third generation Angelino 
on her father’s side and 
Neomexicano on her mother’s. 
She is a feminist, womanist, 
transcendentalist, Unitarian Universalist. 
She believes in Henry David 
Thoreau, Elizabeth 
Taylor, Gloria Anzaldua, 
and Joseph Campbell. She believes 
in people, and she believes in you.

September 13 Workshop
The beauty of field recording 
is that it can happen anywhere. 
This September, join Lawrence 
English as he casts his ears 
towards Hollywood Blvd. Hollywood Blvd. 
is one of the iconic visual landmarks
 of the city, and it also happens to 
contain a diverse sound world. 
Join us as we explore various 
“sound locations” in the 
neighborhood, collect 
recordings, share techniques/methods 
and discuss the ways in which field 
recordings can be used in 
sound art and music practices.

Resonant Forms is made possible 
by the generous support of 
mediaThe foundation Inc. Additional support provided by 

Friday, July 10, 2015

free performance at the pasadena museum of california art this sunday, july 12 2 PM with mem1

performance at the pasadena museum of california art july 12 at 2pm, in conjunction with my exhibition with alexandra grant. mem1 are old friends and great musicians and i'm very happy to be able to perform with them here (since they live on the other coast!)...

while the performance is "free" bear in mind the museum does have an admission fee...

Friday, May 15, 2015

a new cassette release on farpoint recordings...

just got the word that my cassette for farpoint recordings is going to the place where cassettes are made... it should be released in a month or so. it will be available from farpoint's site. you can get info there, as well about their other artists, and i would also suggest taking an ear peek at their output. great stuff... !!!!!!!!!!!!!!!!

you can find their website here

the release is not yet on their website yet.

all of the music is from a cassette that belonged to my father, featuring two well known 70's bands... the music was processed via the modular synth, mainly with filters, and controlled voltage....